| re: Are Broadway Musicals lacking srar power ? | |
| Posted by: student_rush 02:43 pm EDT 04/10/23 | |
| In reply to: re: Are Broadway Musicals lacking srar power ? - Likeitlots 01:35 pm EDT 04/10/23 | |
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| This has been a tremendous issue in the post-COVID landscape, as MANY performances these last two years do not bear any sort of "professional" or "top-tier" standard. BFA and MFA programs regularly beat the individuality out of their students. I'm glad you brought up Adriana Hicks, because there are absolutely 1000 other women in New York City (and several in the ensemble of this musical) that could bring something -- ANYTHING -- more unique or inherently interesting than the performance she is currently delivering. (Notably, this is in stark opposition to the other leads of SLIH, who are unique powerhouses in their own regard.) This tends to hold double true for standbys and understudies ... it is a notable surprise when they are merely capable in the role (spare me the "they are the real heroes," as I would now choose to refund/cancel at least half of the performances where an understudy goes on, most recently with the BAD CINDERELLA standby. I understand the real issue here is associate direction/choreography rehearsals, but I have little patience for Broadway weaknesses to slip so glaringly past all gatekeepers and out unto the unsuspecting audiences. It's a sad day when you start realizing that "tastemakers" lack taste and that the gatekeepers often fuck up a production before it starts with failures of casting (THANKSGIVING PLAY), direction (THANKSGIVING PLAY), or even writing ... why slot a lesser production of a pre-existing play (THANKSGIVING PLAY) into your season only for it to lead to an excruciating ninety minutes of theatre? |
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